PICTURESQUE (in Italian Pittoresco, painter-like or picture-like, and therefore expressed in German by the word Maiderisch, which is of exactly the same import) is that quality which peculiarly recommends objects for pictorial representation. Consequently, in order to ascer tain wherein this quality consists, it is necessary to consider what it is that, independently of other things, contributes to the general effect of a picture, and recommends more particularly certain classes of objects as suitable for the pencil. A picture is a representation upon a piano surface of bodies in relief, delineated as they appear to the eye, by means of form and colour, and their accompanying light and shade, which degree of relief or illusion will generally be in proportion as tho objects themselves are favourable to artistical execution on account of the apparent diversity and variety which they present to the eye, and with which they must accordingly be represented in painting, although in themselves, or taken separately, they may appear monotonous. Hence, provided any object presents that variety to tho eye which the artist requires in order to display the artifice of his pencil, it matters not how unpictureeque it may be when otherwise viewed, or though it should possess in itself none of those qualities which aro commonly insisted upon as essential to the picturesque.
The ideas of seat and tesooth," says Gilpin,who is generally referred to as an authority upon this subject, " Instead of being picturesque, disq•olify the object in which they reside from any pretensions to picturesque beauty." But how can we reconcile this theory with fact when we observe that many things which are remarkable for the very issoutlesess here objected to as a disqualification, are selected by the artist as being admirably suited for Ilia pencil) Still it may be granted that whilst the painter often has to suggest the ides of neatness or smoothness in the objects ho depicts, ho is careful to avoid that degree of neatness and smoothness which the artisan aims to produce. Smoothness is one quality of satin and velvet ; and the idea of smooth nom, it may be presumed, and generally of uniformity of colour also, throughout the material, is excited in the beholder; but then, in order to produce such appearance iu painting, the artist must employ a great number of tints and colours, some of them quite different from the local or positive colour of the object itself, in order faithfully to express all the various modifications which the actual colour of the object receives from light, when seen as it is intended to be ropre. sented in the picture.
Another opinion, which appears equally incorrect, is that the picturesque is something distinct from and opposed to beauty, whereas this is very far from being the came; for although there is an extensive class of objects which are diaagreealilo in reality, and which yet become attractive in representation, where they are divested of all that renders them physically repulsive (such as beggars, hovels that seem the abode of penury and filth, fie), there are likewise numerous others which, while they are beautiful in themselves, are far from being deficient in picturesque quality. It is true there are also not a few that are
eminently delightful or beautiful iu nature, yet become insipid in representation • but that is because they are deficient in that variety of colour and representation; which painting demands. A level well-kept lawn presenting a uniform anrface of rich verdure is beautiful, that is, excites lively pleasurable emotions, but it is so far from picturesque that it is generally made use of as an argument to prove that neatness and smoothness are incompatible with picturesqueness. Such an object undoubtedly, when transferred to the canvas, and made to occupy a prominent place in the composition, does not produce a good effect, inasmuch as it than shows only as a monotonous surface of nearly unbroken green colour : but if we break its uniformity of surface by figures, by shadows, by gleams of light, by gradations of hue, and make it duly subordinate to the objects placed upon it, though it will still convey the idea of being a level piece of grass, it will be divested of its monotony, and may even become picturesque, if it should produce a good contrast to other parts.
The same theory holds true with respect to form, it being by no means correct that objects are picturesque in proportion as they are irregular and devoid of symmetry; though, as before said, the painter, whilst maintaining the appearance, gets rid of the formal presentation of symmetry. Thus, of a piece of regular architecture: if it be shown merely in elevation, a structure which is symmetrical will produce a stiff and inartistic eppearance; but on the contrary, by means of judicious foreshortening or perspective, of shadows thrown upon it so as to break up the too great equality of its manses, and by 'means of figures and other accidents, it may be made to present an agreeable species of irregularity to the eye, at the same time that it suggests to the wind the idea of the most perfect symmetry.
Although, therefore, the term picturesque is often applied, by way of distinction, to that class of objects which are well suited for painting, but possess qualities more or less disagreeable in themselves, and so far - implies something distinct from if not absolutely opposed to beauty, it comprehends also another class, which, while they are beautiful in themselves, require to be accommodated to pictorial representation, inasmuch as, in order to produce their images upon canvas, there must be great contrasts and irregularities, both in respect of form and colour. The truth probably is, that while every object may be, under certain cireumstan9es, admissible Into a picture, and by means of proper artistic treatment be so far rendered agreeable to the eye as to be then properly termed picturesque--yet there are particular objects which by their forms or surfaces are suitable for representation as leadirg features in a picture, without that artistic modification which inure formal objects require, unless they be Introduced as mere accessories: and hence these are not Improperly distinguished by the term picturesque.